An interdisciplinary approach to the production and execution for a unique presentation of devised theatre.
Students produce media artifacts relative to their expressed interests 3D Modeling, 2D Motion Graphics, Theatrical Audio, Video and Digital Set and
Projection Design.

Monday, March 30, 2015

Thoughts on Chapter 23

In this chapter, Dixon introduced his classification of the levels of interactivity, which are navigation, participation, conversation and collaboration. There are a series of examples he used to discuss those similar and slippery concepts, from Stelarc's Prosthetic Head to Luc Courchesne's Landscape one, and finally he concluded all of his points to PLAY.

-----Interactivity in digital arts and performance is at its best a marvel of discovery, rekindling childhood feelings of intimate connection to a vast, inexplicable, and beautiful world.

Living in a digital world, every year there are a lot of new original creative installations, machines, and applications have been designed and presented in our lives. No matter how fast, how technological, and how elaborated-packaged in an interactive product's processing, the key is always ought to be playable, enjoyable, and user-centered.Before a real interaction, we need an interest in that interaction. After that interaction, we need an interest in maintaining the initial interest for the further interaction and further thoughts. How could an interaction make itself be a real interaction not just a reaction? The design of the interaction should focus on the emotional part of human, the psychological part of human, and the behavior part of human. Just like kids are always looking forward to seeing the magic elf because they purely harbor the best wish toward the real world. We, adults, as long as we truly want to explore the multiple interactive possibilities in the future, are ought to learn from a kid and think like a kid as well.